Speaker: I am not outside being an artist, I am inside the world. I am not avant-garde, you could say, as avant-garde made a big point of being on a different place. I am very much kind of part of the world which is why collaborating with BMW on a project like this obviously is the only responsible thing to do considering the nature of the request that I got from BMW. It would be wrong for me to claim that I am outside, I don't have to work with reality as I know it, I would need to find a way to establish a qualitative dialog and a qualitative project with them with all the great things which comes out of it, but also with all the stoppers that I have to go through and I find this more interesting for me as an artist; this position.

I think I was given very, very good terms to work on the actual project. I have outstanding access to all kinds of information in terms of design related issues, I had access to all designs, knowledge and machinery and everything that BMW had, some I did use and some I did not used and so on an so forth. So that was not challenge, that was a very inspiring and creative process, it was -- I need this to say, it was inspiring to have access to all the incredible design and infrastructure that a company like BMW have.

I was intrigued by the fact that I was able to do a very unique car, a hydrogen powered car and this whole sort of environmental discussion which is linked to that was very interesting and inspiring I thought and the fact that it was a real part of -- it was a real car in BMW, I mean not real kind in terms of being on the street but a real science project internally in the company about environmentally unsustainable questions in relation to transportation and mobility and so on.

So that was a kind of a lot of material in the project, when I got the invitation there was a lot of quite interesting questions already which went beyond sort of designs should it be a round or should it be more like a cube or something, so.